素人藝術的興盛與全民美學的傳播－以一位素人藝術家為例

模仿是人類的天性，是學習新事物的有效方式之一，繪畫創作同樣如此。全民美學時代，每個人都有機會成為創意達人。許多素人藝術家，透過「臨摹」，快速掌握各種表現技法與材料。由於他們沒有專業藝術家的思維定勢，可以更自如地表現自己的想法。本文以一位具有工程背景素人藝術家的創作為例，探討其如何將「工學」素養與繪畫創作相結合，以及如何用最質樸、純粹的方式傳達自己想法。結果顯示，從「臨摹」開始學習繪畫，對初學者來說是一條捷徑。不過，藝術的精髓在於創新，及引起觀看者的興趣與感動。因此，當掌握技法已不再是難事，如何有效傳遞出藝術家的構想，如何讓觀賞者看到、看懂及獲得感動，就值得進一步探究。研究發現，對素人藝術家來說，臨摹是一條快速掌握基本表現技法的捷徑，但他們對創作對象的體悟則是創作得以成功的關鍵。對觀賞者而言，他們往往依據主觀直覺進行評判。此外，色調是諸多繪畫要素中最容易引起觀賞者興趣，及進行喜好判斷時最重要的參考依據；而對色調的反應，也可以視作一種「直覺」。本研究可提供給正在學畫或準備把繪畫當作休閒的讀者參考，且期待越來越多素人藝術家的出現，形成全民美學的風潮。

關鍵字

全民美學；素人藝術；臨摹與創作；藝術欣賞；藝術傳播

並列摘要

Imitation is a human instinct, and it is an effective way for humans to learn new things. Imitation is an effective method in the process of learning painting. With the advent of the era of national aesthetics, everyone has the opportunity to become creators. Generally speaking, they have not received professional training, so they are called ＂Amateur Artist＂. This research takes the process of learning painting by an amateur artist with an engineering background as an ex-ample. A total of 129 interviewees have participated. The result shows that: (1) Imitation is an effective way to quickly master painting skills. (2) Audiences are more willing to appreciate paintings based on their subjective intuition. They will not judge whether a work is original or not as a basis for their preference. (3) The cognition of the connotation of the creative object is more important than the mastery of drawing skills. This research can be provided as a reference for readers who are learning painting or planning to treat painting as leisure. The author looks forward to the emergence of more and more amateur artists, and forming a trend of national aesthetics.

並列關鍵字

National Aesthetic ； Amateur Art ； Imitation and Creation ； Art Appreciation ； Art Communication

參考文獻

Davies, D. (2009). On the very idea of „outsider art‟. The British Journal of Aesthetics, 49(1), 25-41. doi:10.1093/aesthj/ayn056

Gao, Y., Chen, L., Lee, S., Lin, R., & Jin, Y. (2017). A Study of Communication in Turning “Poetry” Into “Painting”. Cross-Cultural Design, 37-48. doi:10.1007/978-3-319-57931-3_4

Jones, S. H. (2018). Creative selves, creative cultures, creative futures. In Jones, S. H., & Pruyn, M. (Eds.). Creative selves / creative cultures: Critical autoethnography, performance, and pedagogy (pp. 247-249). London, UK: Palgrave Macmillan. doi:10.1007/978-3-319-47527-1_16

Lin, C. L., Chen, J. L., Chen, S. J., & Lin, R. (2015). The cognition of turning poetry into painting. Journal of US-China Education Review B, 5(8), 471-487. doi:10.17265/2161-6248/2015.08b.001

Maslow, A. H. (1943). A theory of human motivation. Psychological Review, 50(4), 370-396. doi:10.1037/h0054346

主題瀏覽